tag:blogger.com,1999:blog-37833520675263402902024-02-06T21:38:44.551-08:00Sophie's SpaceSophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comBlogger75125tag:blogger.com,1999:blog-3783352067526340290.post-64143505036183185952015-12-26T13:51:00.000-08:002015-12-26T13:51:00.497-08:00Starting Fresh -- Let's Try This Again!<div dir="ltr" style="text-align: left;" trbidi="on">
Time has passed -- looks like about 2 years! -- since I last posted anything. That's crazy talk! I have decided that I need to get back into casually documenting what I am working on, if only just for myself and tracking what the heck I do!<br />
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So let's see -- a lot has happened. I graduated from Carnegie Mellon University with my Masters of Fine Arts in Costume Production in the spring of 2014. I worked part-time at Krostyne Studio once again from 2014-15, getting a chance to work on lots of amazing shows! I was also given the amazing opportunity to teach Stagecraft at CMU, which I have enjoyed thoroughly! I also began to teach classes at Cut and Sew Studio, which I absolutely adore! Water Aerobics is of course still a large part of my life and I teach it 2 x a week, once at CMU and once at the Kingsley Association. I also got a puppy! His name is Brock and he's an awesome corgi!<br />
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I am currently teaching various classes at Cut and Sew Studio -- draping, pattern basics, alterations workshops, kids workshops, etc. I am also teaching Stagecraft at CMU as well as continuing with Water Aerobics. Brock is training to be a therapy dog (someday...) and I'm still looking for a musical outlet.<br />
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I think I'm just going to post a smorgasbord of things that I have worked on and done, going into detail as I can at a later point in time! For a more organized look at my costuming work, please check out my website: sophiehood.com<br />
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So here we go!<br />
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I had the wonderful opportunity to make doublets, shirts, and a cape, for my dear friend's brother's wedding! I'm so honored to have been a part of this! The groom's doublet is made from leather. All the seams are corded and there is a decorative silver trim. The other two doublets are made from combinations of different fabrics, corded and bound with silver, all custom made for each individual. I had a great time visiting Texas for the fittings! (Summer 2014).<br />
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At Krostyne Studio I worked on patterning and making seven camisoles. This is an example of one of my favorites. They are pretty much all based on the same base shape with variations in necklines and sleeves. (Summer and Fall 2014)<br />
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These are costumes that I worked on stitching at Krostyne Studio. (Fall 2014).<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-26754954073927010342013-11-02T06:42:00.002-07:002013-11-02T06:42:17.361-07:00Summer 2013<div dir="ltr" style="text-align: left;" trbidi="on">
So it's been a long time since I've updated anything -- I have to admit to being busier than ever, but I'd like to at least try to keep track of things a little bit!<br />
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Over the summer I had the amazing opportunity to work for Marianne Korstyne at Krostyne Studio here in Pittsburgh. Marianne is an amazing draper/shop owner who also teaches as an adjunct professor at CMU for various costume production classes. During my time at her studio we made leather corsets, a fat suit and costume to fit (trousers and a vest and coat), tyvec dance-wear, and 30s wedding gowns, to mention a few. I learned so much while there and improved on my sewing skills greatly. It was a wonderful experience!<br />
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<tr><td class="tr-caption" style="text-align: center;">Fall front breeches</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Wedding gown mock-up -- I got to pattern the sleeve!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Wedding gown mock-up</td></tr>
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-41786352291754463422013-05-16T14:10:00.000-07:002013-05-16T14:10:46.856-07:00Final Crit -- Spring 2013<div dir="ltr" style="text-align: left;" trbidi="on">
Year two is done! I'm looking forward to a restful and productive summer and then the start of my third and final year as a masters student!<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-43178461881221416872013-05-16T14:05:00.001-07:002013-05-25T13:53:14.549-07:00Tailoring -- complete!<div dir="ltr" style="text-align: left;" trbidi="on">
I also finished my vest and trousers for Tailoring class. Again, I'm very happy with how everything turned out -- I think Matt looks quite dashing! I'm very pleased with the trousers -- everything went very smoothly. I had to try putting in the fly a couple of times, but I think I understand how it all works now. The vest, in general, went smoothly. I hit a snag with the collar. I think that in the chaos of the term, when I was doing my pattern corrections, I never ended up truing the collar to the body of the vest. Can't believe I forgot to do that somehow! At any rate, the collar just wasn't quite long enough to get where it had to, so I ended up adjusting the pattern and just re-making it. Once the collar was fitting and on I hit another snag. I had clipped the facing a bit too far at the notch. Again, so frustrated about this! So, as I did and do not have time to go back and re-cut and hand stitch the facing in again, I had to settle for a lapel that just doesn't quite sit right...again, I've learned my lesson.<br />
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On the whole though, I'm feeling like I understand collars, notches, and lapels a whole lot better having struggled through this. So, next time collar, I'm going to show you who's boss!<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-85037820788728630362013-05-16T13:55:00.003-07:002013-05-16T13:55:35.862-07:00The Amphibian Unitard -- complete!<div dir="ltr" style="text-align: left;" trbidi="on">
I finally finished the amphibian unitard! Yay! <br />
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So, to summarize the whole process:<br />
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1. Patterned the unitard -- I checked all the measurements in comparison to the dress form I was using and to the unitard I had already made to make sure the ratios looked correct. I draped a hood pattern and melded that with the unitard to create a hooded unitard.<br />
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2. Dyed the fabric -- I dyed the white miliskin a neon green and dark blue. For the green, I mottle-dyed the fabric with blue and yellow, using shibori and selective dipping of the fabric. I then over-dyed the whole thing with florescent yellow. The dark blue/green is a combination of navy blue, turquoise, and green...it all got a little too dark, but I think it's fine.<br />
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3. Silicone-spotted the blue pieces -- At first I just made sheets of fabric with silicone...then I found that it was way more efficient and controllable to cut out the pieces and then silicone them instead.<br />
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4. Stitched the unitard together to make sure it fit and to place spots.<br />
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5. Basted on foam. Basted one layer of miliskin over the foam and finally basted the silicone-decorated material over that.<br />
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6. Took unitard off the form -- took out basting stitches so that unitard could lie flat.<br />
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7. Machine-appliqued the dots into place using a walking foot -- this was extremely challenging! I had to use the walking foot or it just didn't move, but fitting everything under that foot as well as the machine was probably one of the most exhausting things I've sewn!<br />
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8. Stitched the unitard back together.<br />
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9. Inserted invisible zippers at the shoulders<br />
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10. Stitched on the hood.<br />
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11. Prepped the sleeves with thumb-gloves.<br />
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12. Stitched on the sleeves.<br />
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And there you have it! A great learning experience building something completely from the bottom up. I had a lot of fun making this and I'm really happy with how it turned out! And thank you to David for being an awesome model!<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-20858680631481981582013-04-13T14:33:00.002-07:002013-04-13T17:49:25.443-07:00Stretch Class: Final Project<div dir="ltr" style="text-align: left;" trbidi="on">
As the end of the year is approaching, I've begun my final project in stretch techniques. I am making a unitard that will incorporate padding to create unique shapes and forms. This unitard is a full body one, including a hood.<br />
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So far, I've patterned it out, dyed the fabric, and basted it together to do a quick check on fit and to figure out the padded section patterns.<br />
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The base fabric is mottle-dyed/tie dyed a bit. I began with blue and yellow and then over-dyed the whole thing with fluorescent yellow to get more of a punch. The bulges are going to be in a darker blue/green color and will feature pebbling done with silicone caulking, which we did during fabric modification last year. I'm so excited to be bringing different techniques together!<br />
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<tr><td class="tr-caption" style="text-align: center;">Original Concept Sketch</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_8x79FZGnKyYCbnBRRf_hVLKdYw9P-zmWSJvDjKZiA56aQjvlQ3L2jbqOkX0fy1OhENZVe76vKuDraljHWN9VuRig3SrrlTNHxnMIwX9aXqK4qmsPYn8218OvrFQP3eVj7SIVwrjrT9E/s1600/SAM_3347.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_8x79FZGnKyYCbnBRRf_hVLKdYw9P-zmWSJvDjKZiA56aQjvlQ3L2jbqOkX0fy1OhENZVe76vKuDraljHWN9VuRig3SrrlTNHxnMIwX9aXqK4qmsPYn8218OvrFQP3eVj7SIVwrjrT9E/s200/SAM_3347.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pebbling in progress</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZu8s-k2HlywB1N3z-6CurDolt8P3nOfelNB5uy_YgAHmeGbsIp7NZkXriJ2eHZ4NlLyZabyw4CZsR7Qdy4Tn0-Q4SvQSTM3izEZc6faJ0D1rH7zYlnjuLn2WvWvYXPUFC1t_fvQPksTY/s1600/SAM_3346.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZu8s-k2HlywB1N3z-6CurDolt8P3nOfelNB5uy_YgAHmeGbsIp7NZkXriJ2eHZ4NlLyZabyw4CZsR7Qdy4Tn0-Q4SvQSTM3izEZc6faJ0D1rH7zYlnjuLn2WvWvYXPUFC1t_fvQPksTY/s200/SAM_3346.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pebbling Sample 1 w/ blue foil</td></tr>
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The unitard fit well on the form I had made it for. I also had a thought -- I bet it would fit my friend who seemed to be about the same size. I took his measurements and compared -- pretty close! So, on a whim I did a quick fitting on him as a test...The only thing I found to alter was the arm which is a bit too large. Yay! Always cool to see what the garment does on a real person vs. the dress form. I also got to mark where to put the padding so that it corresponds better with musculature. <br />
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<tr><td class="tr-caption" style="text-align: center;">Mock-up Hood</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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So that's that for now. Next steps are to finish the pebbling so that I can make the hood and padded pieces. I need to pattern the padded pieces as well for both the foam and the stretch. I then need to take my basting stitches out and baste on the foam. I can then stretch the fabric over the foam and applique it on. Once this is finished, I just need to put it all back together, finish the edges that need finishing and put in the zippers! (There will be two zippers coming up from the shoulders and going up to the face). </div>
Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-30892752463595230512013-03-14T19:17:00.001-07:002013-03-14T19:17:37.139-07:00Spring Awakening 4<div dir="ltr" style="text-align: left;" trbidi="on">
More Photos!<br />
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And so, Spring Awakening has finished! And, once again, I've learned so much! I am quite happy with how everything turned out. Of course I always get a bit frustrated with my sewing, but I know that the more I do this and practice and learn how things come together, the better it will get! For a first Victorian gown, I think it's pretty good!<br />
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The main thing I would change in looking back is the center front -- we needed a zipper opening as I wrote before, but it all looks a bit off center. The zipper is centered, but because it is a lapped zipper, the stitch line is off center. Especially with the thick fabric used in the front panels, I think it would have been better to off-set the zipper a bit in order to compensate.<br />
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In speaking with one of my professors, I learned that the puckering in the front can be caused a number of things: Seizing up in the because of the cording, a bone that is not quite long enough, problems in the flat-lining. Because this only seems to be happening on one side, we decided that it is most likely the cording...and thinking back, this was the side where I had to re-try putting on the cording a couple times before I got it right....so there ya go!<br />
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The rippling in the back is probably caused by the bones being a tad bit too short...I'm not entirely positive, but this seems likely. I learned that you can stitch across the bottom of the bone casing to keep everything secure and in place...seems pretty obvious, but I didn't think of it, so it's good to note for next time!<br />
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Though I like the pleating in the back, I liked it better in the muslin...different fabric, different behavior. I think for the silk I should have worked a bit more on the angle of the pleats. As it was, I didn't have enough length to work with it more. Again, live and learn!<br />
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Interesting note: I was worried that the sleeves were a little too tight, but we decided it was ok. After the first dress rehearsal the actress was actually a little bruised in the crook of her arms from the sleeves! I felt awful!! But, apparently the combination of the tension there and the type of fabric -- this fabric is thick, strong, and holds a fold-- created enough pressure to bruise. In a different kind of fabric this would have been fine. Crazy! So, I opened up the sleeves a bit to create more room and all was well. Just something interesting and unexpected...and a crazy demonstration of the power of fabric! <br />
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The costume looked great on stage -- everything seemed to move nicely. Things to be happy about, things to work on and lots learned! All is good!<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-56916980202133630722013-03-08T14:08:00.002-08:002013-03-14T18:51:23.214-07:00Masks!<div dir="ltr" style="text-align: left;" trbidi="on">
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After finishing the latex mask (photo soon to come!), we worked on two more mask types: paper mache and thermo-formable. Both were started with a clay sculpt, just the same as the latex mask. The paper mache mask was built directly on the clay sculpt. We sealed the clay with a spray shellac and then began covering it with layers of paper mache. (50/50 water and white glue).<br />
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Once there were about 5 layers of paper mache, we cut the mask in two to get it off the form and then sealed it back together. After about 5 more layers, it was set to be painted. </div>
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We covered the thermo-formable plastic with leather and then painted it with leather dye and lined with felt.</div>
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-21616735899556360872013-02-16T19:30:00.000-08:002013-02-16T19:30:01.857-08:00Spring Awakening Cont. 3<div dir="ltr" style="text-align: left;" trbidi="on">
The Corset -- Almost finished!<br />
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Again, I'm really happy with how this is turning out -- it's almost there! I still need to finish cross-stitching the lace on the inside, add a waistband on the inside, and add this super fancy applique to the outside top edge. Phew! I think where I still get the most frustrated is with my stitching...I've definitely gotten infinitely better in just this past year and a half, but I'm still very much a beginner...it all just takes time and practice and I must always remind myself that nothing is perfect the first time you try it! :D がんばってね!</div>
Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-63729361474201614032013-02-16T19:15:00.002-08:002013-02-16T19:15:21.841-08:00Spring Awakening Cont. 2<div dir="ltr" style="text-align: left;" trbidi="on">
Fabric fitting:<br />
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Not too many changes to make -- I will be making the collar a bit shorter and working with the skirt pleats a little to see if I have enough fabric to make them a bit deeper -- the fabric is just a lot thicker than the muslin. Almost there!</div>
Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-41037662902180711322013-02-16T19:11:00.000-08:002013-02-16T19:20:26.238-08:00Spring Awakening Cont.<div dir="ltr" style="text-align: left;" trbidi="on">
The muslin fitting:<br />
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A good fitting! I was really happy with how everything turned out. The pleats on the skirt need to be readjusted a bit in the back. The bodice needs a little adjusting -- a little more space where that drag line is above the bust. A bit of reshaping of the seams in front to curve a bit more over the bust down to the waist. Bringing the armscye in the back a bit in to create a bit of a narrow shoulder illusion. I was least happy with the sleeve and collar...mainly, I didn't have as much time with them as I would have liked, so they just weren't quite up to snuff. I'll re-work the collar completely and take a look at the sleeve pattern. Collars do tend to be my weak spot...I'll just keep working at them, crazy collars!<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-25062696389420750432013-02-16T19:05:00.000-08:002013-02-16T19:05:11.303-08:00Spring Awakening -- the beginning<div dir="ltr" style="text-align: left;" trbidi="on">
And so it begins again! I began working on my next big build last semester in December. I have an 1890s era hot pink corset to construct, as well as a black Victorian bodice and skirt. The trick here is that I was unable to do any fittings until this term...with the show coming up in mid-February, there was no question that I had to start building the corset in the actual fabric and get as far as possible.<br />
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The corset:<br />
I did a lot of research into different corset shapes and patterns and ended up draping it. The corset the designer wanted me to use as an example is from the 1890s and is sort of a conglomerate of earlier corsets and the more modern ones. It has gussets at the bust and the back hip and a straight busk. I constructed it out of two layers of coutil and one layer of fashion fabric. The trick was the bone casings...we wanted top-stitching to be a part of the corset design, so I had to stitch very carefully by machine, moving from the bone channels in the center out to the edges so that the corset would remain smooth. I had to sort of curve the corset while stitching, in order to maintain the shape it would be over a body...without the right amount of ease between the layers, wrinkles and bubbles could be created. I wasn't completely successful with this, but I do understand the concept behind it and I think it just takes some practice.<br />
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What I learned? Don't use the industrial machine! I chose to use this machine because of all the layers...I thought it would sew a lot easier, and it did. However, it would have been easier to maintain that curve with a free arm machine rather than one built into a table. Live and learn!<br />
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Once I got the channels sewn I stitched the panels together. There are ten panels total, with a front opening busk as well as lacing in the back. I basted each panel together before attempting to stitch by machine -- there were just a lot of layers to deal with as well as some tricky curves.<br />
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Next I stitched in the gussets...lots of careful sewing, but I think they turned out pretty well. Again, difficult because of all the layers.<br />
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Once those were sewn in it was time to insert the busk. <br />
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I stitched a sort of temporary grommeted and laced closure in the back, just in case things would have to move once I had the fitting. <br />
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I thread-marked the top and bottom hem and it was ready for the first fitting.<br />
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The Gown:<br />
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Thankfully I was able to at least drape the gown before winter holidays. I'm really happy with how the drape turned out. I spent a lot of time making sure the dress form was padded as accurately as possible because of the fitting situation. I marked my style lines carefully and went over them with the designer to make sure it was exactly what she wanted. All ready for draping, I began my work. I have to say I was just really in the zone for this drape. I was excited for it and I just had a really good idea as to what I wanted to do with it. Last year I had done something similar, so I was feeling a lot more confident than I have before. In about 3 hours I had a half drape of everything but the sleeves and collar. I left it there for the break knowing that once I got back I could easily pattern it and make myself a mock-up to be fitted within the first week of school in January. <br />
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I should mention a little about the character -- this is the adult woman in the show -- the only adult woman in the show. This is her teacher look -- strict, German, simple but proper. The bustle is subtle -- she is a working woman and things need to be practical! This is also when the bustle is going out of fashion. The corset will be worn underneath and will be featured in a scandalous reveal! Due to this, I also have to make the bodice easily removable...so far we're thinking center front zipper, which should work great, even if it's not quite period! ;)<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-26816296722126436352013-02-16T18:57:00.000-08:002013-02-16T18:57:05.073-08:00Tailoring II -- Vest and Trousers<div dir="ltr" style="text-align: left;" trbidi="on">
I finished drafting the pattern for my trousers and vest and had my first fitting a couple weeks ago. Once again I'm making these things for my boyfriend, Matt. I decided to do a double breasted vest with a collar...mainly because I've never done a double-breasted anything and I could use more collar practice...plus the vest is pretty awesome. It's based on a 1890s vest draft. For some reason all of the drafts that we could find do not include a full collar -- it always seems to go into the shoulder seam. We know there were and are most definitely vests that have full collars, so I'm not sure what's up with this...anywho, I had to drape the collar to figure out how it all works with the vest.<br />
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So, here's Matt at the first fitting -- everything went pretty well! I'm really happy with how the trousers turned out. They have pleats and cuffs (again, just wanted to try some things I've never done before). We've decided that this crazy conglomerate of time periods and styles has equaled Captain Nemo. So here's Matt as Captain Nemo, fitting number 1!<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-73863931680024356452013-02-16T18:27:00.004-08:002013-02-16T18:27:59.175-08:00Stretch!<div dir="ltr" style="text-align: left;" trbidi="on">
This semester I've started a new class about stretch fabrics -- how to drape, pattern, and sew with them. Quite exciting! We started off the semester with a leotard. My professor gave me one of her patterns. I cut the fabric ans stitched it all together as a sort of practice round of getting used to the fabric and learning some stretch sewing techniques without worrying about the pattern and alterations. <br />
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Working in stretch is really interesting -- it is very different than working with 'regular' fabric. It's both more finicky and more forgiving at the same time...it takes a lot of trial and a lot of just doing it! I'm really looking forward to working more with it!<br />
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Here's me trying the leotard just for kicks! -- Since it is stretch fabric, even though it is not really my size, it still fits surprisingly well! You can see the drag lines where in would need to be made smaller for me. Out of curiosity I compared the leotard to one of my swimsuits -- my swimsuit is shorter in the torso as well as smaller across both waist and chest...makes sense.<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-33543442857601534162013-01-31T08:02:00.002-08:002013-01-31T08:02:52.200-08:00Final Drape for the Term! Numero 5<div dir="ltr" style="text-align: left;" trbidi="on">
This is my final drape for this term's draping class. This is an a-symmetrical ball gown based on a rendering from a production of Macbeth. It was an interesting and different challenge working from a more abstract source. I'm happy with how things turned out but definitely wouldn't have minded more time to work on this one -- I think that the skirt could be fuller, perhaps with some pleating...or maybe it would just be different with lighter weight fabric, larger petticoat...the factors are endless! Once we looked at the drape in class it was also brought to my attention the different possibilities for the bodice -- it might be more flattering to have it cut down under the arm in front, lowering and taking away what I had in back. Anyway, I love how many ways there are to interpret something and the more I learn and look the more options I have to draw upon and think through. Sometimes it's crazy trying to choose what to do, but in the end you just have to try it and learn from it and just keep making it better as you gain more experience and continue to experiment with what works.<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-4113935271301551782012-12-10T07:09:00.001-08:002012-12-10T07:09:38.644-08:00Drape the 4th: 1500s <div dir="ltr" style="text-align: left;" trbidi="on">
Here is the fourth drape in the 'speed drape' series. One more to go! This particular one is based on a fairly stylistic rendering. Based on my research I tagged it as 16th century with a few stylistic and modern twists. Looking at this drape, I would like to have the bodice be a bit more straight and flat instead of curved to the form...this can be helped with proper period undergarments. The corset that I used is more from the 18th century, but was the best I could find. Ah well! Other notes, I gathered the skirt in the front, which is what the rendering indicated, but which is not really period. In period skirts, the front seems to remain pretty flat and smooth. This particular rendering had a very full and gathered-looking skirt. With more time I think tiny knife pleats would be really nice here.<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-80795841690994930542012-12-10T07:01:00.001-08:002012-12-10T07:01:47.225-08:00Final Sculpt -- Bird Mask<div dir="ltr" style="text-align: left;" trbidi="on">
Here is the finalized sculpt of the bird mask:<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-19655004872336358482012-11-21T07:30:00.000-08:002012-11-21T07:30:09.549-08:00Mold-making, Casting and Masks!<div dir="ltr" style="text-align: left;" trbidi="on">
In preparation for Mask-making next semester, I am taking a course on mold-making and casting. Awesome! We first learned how to use a simple two part putty mold-making medium. This is used a lot in jewelry making -- that's where I've encountered it before. It's a great way to make a simple mold. All you have to do is mix equal amounts of each part of the mold medium (part A and part B) and then press whatever it is you want to make a mold of into the product. You let it sit together for about 20 minutes and then it's set! You can get a surprising amount of detail. I think this is especially nice for buttons and brooches. We then used this mold to make a resin cast. In jewelry making we would often use this type of mold to pour wax into and then cast metal...so obviously, a lot of uses and ways to use this type of mold making. <br />
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The next mold that we made was a silicone one. Again, you mix equal parts of part A and part B of the product and simply pour it into your mold box, onto whatever it is you wish to create a mold of. I made a mold of a key. The detail for this one was fantastic. I also really liked the silicone -- it is flexible and easy to use as a mold. We also poured resin to make the cast for this one as well. <br />
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Next was life casting with alginate. This was a ton of fun! You make the alginate mold for the face with the person sitting up, in order to capture an accurate face mold. You mix the alginate with water and the just start glopping it onto the persons face. They are wearing a bald cap to keep hair safe and away. The also have a tiny bit of Vaseline on their eyebrows and lashes. The alginate mixture starts out like thick chowder or oatmeal in consistency. You continue to pour the alginate over the face and constantly pushing it back up against gravity. You really need to make sure to cover everywhere and get the air bubbles out! We also kept the nostrils clear (important for breathing! ). One the alginate starts to set up it gets easier to keep it on the face. When it stops being moveable you put a layer of gauze onto the alginate to create a link between it and the plaster mother-mold that you will be applying next. Once that is all settled you begin applying plaster bandages on the alginate. It is really important to get the plaster right close to the alginate contours in order to create a stable mold. You continue applying bandages until it is several layers thick. Careful to mind the chin! When it was being done to me, I could definitely feel the alginate wanting to fall off my mouth and chin area. Anyway, then you let t set...it takes about 20 minutes or so. This whole time it's very important to keep in contact with the person under the plaster -- make sure at least one person is keeping a hand on their shoulder so that they are assured you are nearby! It's a bit scary being under there, completely cut off from light and a bit from sound, with a bunch of heavy plaster all over your face! After it has completely set, the person simply wiggles their face a bit and it pops off pretty easily!<br />
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Next step is to pour plaster into the mold you've just created in order to create a positive of your face. We used ultra-cal plaster -- super hard and strong once set. Before pouring you must seal off the nose hole with clay. You can also fix air bubbles and anything else with the clay too. You have to be careful not to futz with it too much -- the alginate can get great detail, including pores, wrinkles, etc. The more you rub it with water and clay, they more you will lose this detail.<br />
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So at any rate, my mold turned out nicely. It's not perfect -- you can see where the alginate was falling off my cheek, upper lip, and chin -- but in general, it worked out great for a first attempt! We were working in a group of 3 people by the way, taking turns.<br />
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We will now use this face cast to create masks! Our first assignment is to use plastiline (oil based) clay to sculpt a mask over the face. It has to be bird themed. We will then create a two part plaster mold. Next semester we will use that mold to cast a latex mask.<br />
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Here is my bird mask sculpt so far -- it still needs to be smoothed and refined.<br />
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The plastiline clay is interesting to work with -- I've done a lot of work with water based clay, but not oil based. It is very plastic! Heat makes it much easier to work with!</div>
Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-63542520266593891082012-11-21T07:02:00.002-08:002012-11-21T07:02:30.293-08:00Draping! Continued...<div dir="ltr" style="text-align: left;" trbidi="on">
1930's Drape:<br />
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Continuing with some 'speed' draping, here is my 1930's drape, based off of a Sears catalog illustration. I started by taping the form and indicating the main style lines. I then did some research and decided how best to approach everything. I had a hard time finding other examples, but I worked with my draping books and figured it out as best I could! I started with the skirt -- straight of grain is at the center front. I worked my way around the waist, letting the skirt flare out as needed and indicated by the illustration. There are no waist darts, or darts in the bodice as there is just some fullness to it all. The belt/side tie acts to pull everything closer to the waist. The bodice overlaps and ties at the side. There is a nice circle-cut trim along the edge of the collar, which is so neat! I always love how circles can be applied to so many things and work so beautifully! There is also some double collar over-lap action going down, though it's hard to see in the photo.<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-30870193678047443622012-11-11T13:37:00.000-08:002012-11-11T13:37:51.152-08:00Draping!<div dir="ltr" style="text-align: left;" trbidi="on">
I spent the first half of my semester working through flat patterning exercises and really learning how to easily manipulate flat patterns, and in turn really learning how to combine flat pattern and draping. Now that it is the second half of the semester we've moved to some 'speed' draping -- basically getting a new rendering or photo each week and having to drape it (in half)...preferably in about 3 -6 hours. The goal is really to just get the shape -- you are handed a rendering and you need to figure out the basic silhouette in three dimensions to show a designer. You also get to do a bit of research to help you along the way. This has been super fun so far! It's great to get back into some draping and starting to really apply all that I have learned to new and different projects. It really all comes down to the same basics...it's just manipulating those basic ideas in order to get the result that you need!<br />
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At any rate, so far I have done a drape based on a 1790s fashion illustration and a drape based off of a 1913 walking suit photo. Next week is a dress from 1932 out of a Sears catalog.<br />
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<tr><td class="tr-caption" style="text-align: center;">1790s Gown</td></tr>
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For this first drape, we were given everything in class -- rendering and research -- and just got started right away....this is what I came up with! I'm happy with how it turned out -- I think proportionally the 'waist' could be pushed up a bit more...at this time it was really pushed right up under the bust. This is when there is a disadvantage to dress forms...they're just not squishy like people! The back waistline too could be a bit higher.<br />
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Next is 1913!<br />
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<tr><td class="tr-caption" style="text-align: center;">Original Garment</td></tr>
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Again, I'm happy with how this one turned out. It was a good challenge! I drafted the bodice pattern (kimono sleeve!) and draped the rest. I think that once again the waist could be just a smidgen higher up...hard to tell because of the size difference in the original and the dress form I am using...but in class we decided that this would help the proportions. I think that the skirt I did too should be a tiny bit narrower...<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-75339114644007050212012-10-31T18:16:00.001-07:002012-12-03T17:53:35.383-08:0018th Century Gown<div dir="ltr" style="text-align: left;" trbidi="on">
Working from the undergarments up, the Julia dress was finally finished! My first 18th century English Robe. I was happy with how everything turned out -- this has definitely been the most challenging project I've had so far! There were lots of things to learn along the way and I know where I would change things next time. As per usual there are always choices to be made and pros and cons for all these choices. It all depends on what you want, your experience, and trial and error.<br />
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I chose to put my opening in the front of the bodice. On the plus side, this is more period. It let the back of the garment be completely smooth and free of interruption. At first we thought that the fichu would be covering a lot of the front...in reality, it ended up covering more of the back than the front...but so it goes! On the negative, there was slight gaping in the front -- all of the tension of the bodice was pulling at the hooks in the center front. For a front closure like this, with all the pressure of a tight fitting bodice, I should have constructed it with an under-closure -- something that held all the tension -- so that the outer layer could lie smoothly over it with no tension. It could also have used a stronger flat lining fabric and possibly some more boning, sort of stomacher-like. All this is of course hard to tell from the get-go, especially for a beginner like me...Would the corset be enough to stabilize everything or does it need more? Different body shapes effect this differently as well...but for a first attempt, I think it was pretty good! :) And like I said, I definitely learned a ton!<br />
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I cut the skirt in gores which gave it incredible fullness. At this time skirts were pretty much rectangular in shape, giving a different look than what I achieved. Theatrically however, the skirt was full and had incredible presence. However, it did not have quite the correct shape for the period. Doing the pleating with the gores was also challenging. Again, it all depends on what the garment needs to do, what the designer wants, what it needs to look like on stage....so many factors!<br />
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So, to the actual construction. The bodice is flat-lined to cotton backed satin and boned at the seams, center back, and center front. It is piped along the neckline and waistline and along the center back seams. The seams are finished with lace. The actual garment fabric is a green and red silk dupioni -- it looked fabulous under the stage lights! The sleeves are flat-lined with cotton batiste. The skirt is flatlined with silk organza to give is a bit more structure. The over-skirt and underskirt are on the same waistband (which is covered) and open in the back. The hem is serged and cross stitched up.<br />
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Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-313196862706496402012-10-13T06:57:00.000-07:002012-10-31T17:44:12.488-07:0018th Century Underthings!<div dir="ltr" style="text-align: left;" trbidi="on">
School started off with a bang going into full production for the play, "The Rivals." I created the costume for the character Julia, from the undergarments up -- Petticoat, stays, and bumroll. I can't emphasize how much I learned on this project. I was very happy with how everything turned out and I know where I would change things next time. I'm looking forward to implementing these new found insights in my next project!<br />
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I patterned the corset based off of a stays pattern from Corsets and Crinolines. The corset is made of two layers of coutil and 1/4" steel bones. The petticoat is silk taffeta. I patterned the bumroll based on various examples and the shape I was aiming for based on the rendering. The bumroll is made of muslin and stuffed tightly with polyfill. It is attached to the interior of the petticoat undrneath a later of gathered netting to smooth out the transition from bumroll to petticoat...and to give it a little extra poof! The bumroll is attached to the petticoat in an attempt to keep everything together and in the right placement for the actress.</div>
Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-54217204690218587092012-06-26T12:09:00.004-07:002012-06-26T12:10:56.059-07:00Mokuhanga Workshop with Takeda Sensei<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYRlftJtMgsDoilYqXPuwXdxa4yJ4wuScVed-kltcx2voqnXxuxMcMh8x_CA5uIroTouUllMGSF2nUAOnRCvFnp1I_BLDgKHZbA8b8yNuYViiZPMbIrdIIdIvoAbzFc3gnI82EKyHh-2E/s1600/SAM_2465.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYRlftJtMgsDoilYqXPuwXdxa4yJ4wuScVed-kltcx2voqnXxuxMcMh8x_CA5uIroTouUllMGSF2nUAOnRCvFnp1I_BLDgKHZbA8b8yNuYViiZPMbIrdIIdIvoAbzFc3gnI82EKyHh-2E/s200/SAM_2465.JPG" width="150" /></a>The past three days I participated in a Mokuhanga and Mokulito printmaking workshop at Pratt Art Center in Seattle, WA...and it was absolutely fantastic! Takeda Sensei is an amazing artist from Oaxaca, Mexico. He is originally from Japan but has lived in Mexico making and teaching art for the past 50 years! He has recently been implementing a new technique called Mokulito -- a sort of combination of Mokuhanga and Lithography.<br />
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Starting from the beginning: Mokuhanga is traditional Japanese woodblock printing. You use many different blocks, each with a different color, to build up an image. We spent the first couple days of the workshop developing 2 - 3 plates in order to practice this technique. We started by printing the base color -- just a solid rectangle of color to act as the first layer. We used guache mixed with a little bit of nori paste (rice glue) and water. The goal was to get a nice transparent color that captures the wood grain and texture of the plate itself. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvpfqBM5ja0M_0RHJn4O99_NA6Em1UHJPgvAM6yy6WD-Uuyh29d64S5iGBzDWEoBMD46KzI04S48WoLovQkLarC2CXjJaIXxZY43_X_HQ0qBomutxcfbsdYO6VLwXv6Gcj9joZhQvHhs/s1600/SAM_2481.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvpfqBM5ja0M_0RHJn4O99_NA6Em1UHJPgvAM6yy6WD-Uuyh29d64S5iGBzDWEoBMD46KzI04S48WoLovQkLarC2CXjJaIXxZY43_X_HQ0qBomutxcfbsdYO6VLwXv6Gcj9joZhQvHhs/s320/SAM_2481.JPG" width="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimDUAB2nZJKWkVLZkPltVAAl6zzjmi3az6L-UifmM0uf7jkq7ORfPZJtBkr7r28x_z3IUWeYsV3EZVcJvLAtArN9LSrG0pqcPnDZB0wo1MWcPi1H5-BNXMNXgdFAQ1URlRyDAP9LgGHr4/s1600/SAM_2486.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimDUAB2nZJKWkVLZkPltVAAl6zzjmi3az6L-UifmM0uf7jkq7ORfPZJtBkr7r28x_z3IUWeYsV3EZVcJvLAtArN9LSrG0pqcPnDZB0wo1MWcPi1H5-BNXMNXgdFAQ1URlRyDAP9LgGHr4/s320/SAM_2486.JPG" width="240" /></a><br />
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Mokulito is a process that involves using lithography on wood instead of stone or metal. It's pretty much the same process as in traditional lithography except that it is on wood and thus involves some different chemical mixtures. Master Takeda uses this process as the last step on his mokuhanga prints. It's like being able to add a final drawing to a print...the possibilities are mind boggling!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxlPonJysLn_RiUkLRYdEVi6f2focgPHyo6yfaBtsW5EPMfY4jVDWOSwgfDQgtDmNQDr4cyLmCfyjp4jOu1961C-PsGGKcBh13_ivOCSKQMveFpdu5WDfqHui49zqkogYT4XQy91IdP_c/s1600/SAM_2473.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxlPonJysLn_RiUkLRYdEVi6f2focgPHyo6yfaBtsW5EPMfY4jVDWOSwgfDQgtDmNQDr4cyLmCfyjp4jOu1961C-PsGGKcBh13_ivOCSKQMveFpdu5WDfqHui49zqkogYT4XQy91IdP_c/s200/SAM_2473.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mokulito test plate.</td></tr>
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I ended up with 8 larger prints and a few small ones that I was just playing around with. I really love mokuhanga -- the process is very sculptural and very fun to do! It's so challenging to think about the layers and really integrating colors effectively...I can see spending a life time exploring the depths of this process!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP93focOgmxpI29oP5wwZHnqh5tPfXUDwGtLVXOaSKnq66EAkI2nVTICgomAzwnaYaQFZE9ZhfsNhYrNiX0LaqDICxFA7WEWpU6eXeYuUbUzNVFQytJnLufpWAIpc5yBHwza937Jk3l-A/s1600/SAM_2463.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP93focOgmxpI29oP5wwZHnqh5tPfXUDwGtLVXOaSKnq66EAkI2nVTICgomAzwnaYaQFZE9ZhfsNhYrNiX0LaqDICxFA7WEWpU6eXeYuUbUzNVFQytJnLufpWAIpc5yBHwza937Jk3l-A/s320/SAM_2463.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Master Takeda and group working on Mokulito.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Mokulito test prints<span id="goog_641332839"></span><span id="goog_641332840"></span>.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">My mokulito test prints</td></tr>
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I am so very thankful that I was able to take part in this workshop! I met some amazing and wonderful artists and got to learn a very rare print making technique with a most wonderful, kind and knowledgeable teacher! ...and I got to practice a little Japanese too! :D</div>Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-5950478090241001042012-05-26T15:35:00.002-07:002012-05-26T15:35:22.564-07:00Final Crits Spring 2012<div dir="ltr" style="text-align: left;" trbidi="on">
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<br /></div>Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.comtag:blogger.com,1999:blog-3783352067526340290.post-6361111052058560172012-05-25T18:52:00.001-07:002012-05-26T15:30:53.673-07:00Workin' in the Shop<div dir="ltr" style="text-align: left;" trbidi="on">
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<br /></div>Sophie Hoodhttp://www.blogger.com/profile/07593932262012678226noreply@blogger.com